Japanese lacquer

Lacquer wares are objects, usually made of wood, which have
been covered with several layers of sap from the lacquer tree to
produce a hard, shiny surface. In Japan, lacquer has been excavated
that dates from the Late Jōmon period (about 2500-1000 BC). It was
mainly used for decoration but it also preserved objects against
corrosion and was occasionally used to repair ceramics. Buddhist
images were also made from lacquer-soaked moulded textile
(kanshitsu)

The natural sap is almost clear, but early lacquerers often
mixed it with charcoal or cinnabar to produce black or red. From
the sixth to eighth century lacquer has been a leading Japanese
craft, with sophisticated techniques introduced by immigrant
workers. Many objects in the eighth-century Shōsōin treasure house
are native pieces decorated with Chinese designs.

A variety of decorative techniques were used. Early Chinese
methods included raden (inlaid shell) and
heidatsu ( silver and gold sheet inlay), while the
Japanese developed makie, 'sprinkled illustrations' of
gold filings; nashiji, a 'speckled pear skin' effect using
metallic dust, and hiramakie, with the appearance of flat
gold. Carved red lacquer, learnt from Song dynasty China, was
particularly popular. During the Momoyama period (1568-1600) the
Japanese developed takamakie, a method of building up
layers of lacquer in high relief. Spanish and Portuguese
missionaries also brought European influences.

Throughout the Edo period (1600-1868) lacquerers were in great
demand, working as official craftsmen to the shogun and
daimyō, and also serving the flourishing
non-samurai classes. Bolder designs were encouraged by the
Rimpa school and artists such as Shibata Zeshin (1807-91).

From the Meiji period (1868-1912), lacquer was sponsored by the
imperial family, thus ensuring its continuity today.